We Push the Button (2016)
Since the boom of digital photography, we have been witnessing a transformation of how we use, make, see and consume photography. The (not so simple) change from paper to the screen has been altering our relation with collective memory and our ability to recall memories.
George Eastman, in 1888, simplified the process of photography by inventing a camera with a much easier system to make photography “as convenient as the pencil”, starting this process of democratization of photography.
Then again, digital photography started developing with Steve Sasson who invented the first digital camera of the world; but Kodak believed it would never be used as film photography was and decided to not invest in it. And so, Kodak sets both the beginning and the end for analog photography as we know today.
With this, the process and failure from the Eastman Kodak Company led them filling bankruptcy under Chapter 11, in 2012. Kodak had to restructure all its debt and start a Plan of Reorganization. This included the selling of not only intelectual property they had to implode several buildings and factories where film and paper was produced in several countries but mainly in Rochester, New York, where its main headquarters are based.
The last building imploded was on the 18th of July of 2015.
The work was exhibited in the exhibition Positivo/Negativo with the artist Sara Carneiro, and it materialized in several moments — a photographic cloud built with various fragments of video frames of the building's implosions; a publication with several photographic records from those videos and the sites, and a video-montage of those same implosions.
This tropological relation of the cloud signifies the simultaneous destruction of the way we nowadays see photographs and images to the Cloud, a cloud of storage with our saved photos, where we are at the distance of a click, of a button.
The exhibited images are themselves victims of a digital transformation, where its reality has been augmented, cut, stretched, exploded when finally, in the end, we have the enlargement of that photographic trash — the pixelated grain.